Cuzzie

@Quatschmacher could the Source Audio C4 do something like this? I would check mine, but I have loaned it to someone!

Arrrrghhhh!!!!! The compression roundabout goes again!!! No one has a perfect technique no matter how good they are, but IF compression is used properly across all instruments in whatever band the clarity of each instrument and the mix can be perfect (or as perfect as possible within subjectivity). Properly used compression can help lead to lower volumes all around, ear fatigue lessens etc rather than volume wars which happens. Having great technique aids good compression to still let dynamics flow. A glass of Red now and again is good for you (in general), a bottle a day (heavy compression) is not. Orchestral music - yes live is a different beast compared to recorded (which I bet has compression), but, depending on the piece and make up you will have critical numbers of violins, violas, cello’s Double basses plucking vs bow, percussion, a plethora of horns and woodwind instruments (using mutes) pianos (using the dampener pedal) all hitting specific areas to create a mix as well as first, second parts etc. Again using it is a personal preference as is EQ, jazz vs P vs big buckers, play at the bridge be play at the neck, pick vs fingers………undoubtedly it helps, if done right and effs it right up if done wrong

I think he just got bored or doing compressor reviews or reached his wits end esp as most people have no idea about it, and because they cannot fathom it shout it down as it’s easier to do that instead of learn a bit about it and apply it, despite huge evidence placed in front of them

Lots of sage things written above by people far better than I. Compression used correctly is there to preserve elements to let them stand out in a wonderfully folded mix pancake of song love. Compression on drums really changes songs for example - you can list everything and that is live and recorded. check this guy - just one of a myriad of videos my fave band released their first album in 14 years, you can bet their is compression going on, loads of overtones etc. my fave hit is at 1.49 where the Tom hit is obviously compressed appropriately to allow it to ring out. Ultimately you will make your own mind up, but if there are enough examples out there of compression done well not to lose overtones, surely it’s not compression, it’s ‘THAT’ compression you heard which was naff

Fender Highway one series if you can find is incredible value

It isn’t like them there may be a valid reason

Rout the neck pick up and pop a split coil or a humbucker in

I would keep it and do a home relic job!!!

Also - I should have prolly explained a little further from my side - usual punctuated messages between doing stuff can get lost in translation

Exactly m the charges would be for the bass only - don’t think they would apply the cost of your ticket…..

I didn’t say anything about not paying import duty. the amount payable is based on the total cost of the instrument and the carriage (for which being properly insured someone said will prolly be more than 140). If you were going to pay that much, and it’s the bass for you going and bringing it back either in the case or hand luggage could work out a similar value and you get a holibob out of it it then is legal smuggling, or personalised delivery!

Cali poo’s on the MXR IMHO I also have the FEA Labs OptiFET which is phenomenal - gives me a different sound with its dipswitches. if someone you know has a Darkglass Hyperluminal - borrow it and play with it - the Cali model is fairly accurate, BUS compression and it’s own SuperSymmetry model. That would give you an all In one box fiddle tool in how not only To work compression, but also how each sounds different and then pick the one you like

Or go on holiday there - take the neck off and squeeze into the suitcase on the way home

have you got any positional recordings, or can do some from any of your gigs to demonstrate next to the amp and in the crowd. Would be really interesting to hear the difference for us considering wireless and movement

One man’s raspy, is another man’s raunchy @ped are we getting into sticky territory with what’s allowed to be said in forum - it’s getting me all hot….

Oh how times have changed, the bragging of “mine is smaller than yours…….” Is this what we blokes have become?!

They the best

Two Notes LeBass Hartke VXL version 1 Demon Pedals - The Pavarti Barefaced Lehle - Sonic Spark Gamechanger Audio - Plasma Verellen Meatsmoke

I get what peeps mean about sig basses, and the comment about actually their original recording Bass would be the one to find for emulation, but it can be done well - maybe the sig bass has a specific pick up - you could get a standard P and drop in the pick up they like, some people don’t feel comfortable doing that. I have a MarloweDK from Sandberg which is a sig Jazz - neck profile is different from the standard and suits me, similarly the pick ups are in the 70s position, which is not common now - so I could spend large amounts getting a 70s bass etc. and there were some dog years there ( a few boat anchors) and also have the problems of an older bass, or get the modern (but old) sig model - there will be other examples as such

Another nod to the cloth Supertwin clean eloquent sounding cab that be as loud or subtle as you want

As said earlier about the DK - it’s the body shape. Visually I still just about prefer a traditional Jazz shape, however to play - the new shape wins hands down and I am getting used to the new shape more and more